The aestheticization of violence in high culture art or mass media has been the subject of considerable controversy and debate for centuries. In Western art, graphic depictions of the Passion of Christ have long been portrayed, as have a wide range of depictions of warfare by later painters and graphic artists. Theater and, in modern times, cinema have often featured battles and violent crimes, while images and descriptions of violence have always been a part of literature. Margaret Bruder states that the aestheticization of violence in film is the depiction of violence in a "stylistically excessive", "significant and sustained way" in which audience members are able to connect references from the "play of images and signs" to artworks, genre conventions, cultural symbols, or concepts.[1]

High culture forms such as fine art and literature have aestheticized violence into a form of autonomous art. In 1991, University of Georgia literature professor Joel Black stated that "(if) any human act evokes the aesthetic experience of the sublime, certainly it is the act of murder". Black notes that "...if murder can be experienced aesthetically, the murderer can in turn be regarded as a kind of artist—a performance artist or anti-artist whose specialty is not creation but destruction" (1991: 14). This conception of an aesthetic element of murder has a long history; in the 19th century, Thomas de Quincey wrote that

"Everything in this world has two handles. Murder, for instance, may be laid hold of by its moral handle... and that, I confess, is its weak side; or it may also be treated aesthetically, as the Germans call it—that is, in relation to good taste."[2]

In addition to high culture aestheticizations of violence, mass media forms such as newspaper and television news reporting have produced sensationalized reports on crime and warfare. Maria Tatar's book Lustmord: Sexual Murder in Weimar Germany analyzes murders in pre-Hitler Germany and their artistic representations, investigating "the chilling motives behind representations that aestheticize violence, and that turn the mutilated female body into an object of fascination".[3]

The bombed-out remains of the Baath Party Headquarters in Baghdad.

Lilie Chouliaraki's article, "The aestheticization of suffering on television" (2006), analyzes "an example of war footage in order to trace the ways in which the tension between presenting airwar as an 'objective' piece of news and as an instance of intense human suffering is resolved in television's strategies of mediation". For example, Chouliaraki argues that the "bombardment of Baghdad in 2003 during the Iraq war was filmed in long-shot and presented in a quasiliterary narrative that capitalized on an aesthetics of horror, on sublime spectacle (Boltanski). She says that the "aestheticization of suffering on television is thus produced by a visual and linguistic complex that eliminates the human pain aspect of suffering, whilst retaining the phantasmagoric effects of a tableau vivant", producing an "aestheticization of suffering [that] manages simultaneously to preserve an aura of objectivity and impartiality, and to take a pro-war side in the war footage".[4]

A number of filmmakers from the 20th century have used aestheticized depictions of violence. According to James Fox, filmmaker Donald Cammell "...looked upon violence as an artist might look on paint. [He asked:] What are its components? What's its nature? Its glamour?"[5]Thomas Harris created a fictional character called Hannibal Lecter, a cannibal and aesthete killer. In the films adapted from his work, The Silence of the Lambs (1991) and Hannibal (2001), directors Jonathan Demme and Ridley Scott, respectively intentionally generate excitement and anticipation when Lecter is about to kill (and eat) a victim. Lecter was portrayed by Anthony Hopkins. In David Lynch's Blue Velvet (1986), the villain of the film, Frank Booth, is an excessively violent man who obsesses over small fetishes (such as blue velvet) when he is attacking and raping his victims; his obsessions help him achieve orgasm.

In the film Man on Fire, which tells the story of a burnt-out former Black Ops agent who seeks to avenge the kidnappers of a young girl he was bodyguarding, a character says that the agent is an "artist" in killing. He says the man is about to "paint his masterpiece" as he seeks out and kills all of the members of the criminal organization who were connected with the child abduction.[6]

In Xavier Morales' review of Quentin Tarantino's Kill Bill: Volume 1, entitled "Beauty and violence", he calls the film "a groundbreaking aestheticization of violence". Morales says that the film, which he calls "easily one of the most violent movies ever made", "a breathtaking landscape in which art and violence coalesce into one unforgettable aesthetic experience".[7]

Morales argues that "... Tarantino manages to do precisely what Alex de Large was trying to do in Stanley Kubrick's A Clockwork Orange: he presents violence as a form of expressive art...[in which the]...violence is so physically graceful, visually dazzling and meticulously executed that our instinctual, emotional responses undermine any rational objections we may have. Tarantino is able to transform an object of moral outrage into one of aesthetic beauty...[, in which,]...like all art forms, the violence serves a communicative purpose apart from its aesthetic value". When the female sword-wielding protagonist "...skillfully slices and dices her way through...[the opposing fighters]...we get a sense that she is using them as a kind of canvas for her expression of revenge...[,]...like an artist who expresses herself through brush and paint,...[she]...expresses herself through sword and blood".[7]

Film critics analyzing violent film images that seek to aesthetically please the viewer mainly fall into two categories. Critics who see depictions of violence in film as superficial and exploitative argue that it leads audience members to become desensitized to brutality, thus increasing their aggression. On the other hand, critics who view violence as a type of content, or as a theme, claim it is cathartic and provides "acceptable outlets for anti-social impulses".[1]

Adrian Martin argues that critics who hold violent cinema in high regard have developed a response to anti-violence advocates, "those who decry everything from Taxi Driver to Terminator 2 as dehumanising, desensitising cultural influences". Martin claims that critics who value aestheticized violence defend shocking depictions onscreen on the grounds that "screen violence is not real violence, and should never be confused with it". He claims that their rebuttal also claims that "movie violence is fun, spectacle, make-believe; it's dramatic metaphor, or a necessary catharsis akin to that provided by Jacobean theatre; it's generic, pure sensation, pure fantasy. It has its own changing history, its codes, its precise aesthetic uses."[8]

Margaret Bruder, a film studies professor at Indiana University and the author of Aestheticizing Violence, or How To Do Things with Style, proposes that there is a distinction between aestheticized violence and the use of gore and blood in mass market action or war films. She argues that "aestheticized violence is not merely the excessive use of violence in a film". Movies such as the popular action film Die Hard 2 are very violent, but they do "not fall into the category of aestheticized violence because it is not stylistically excessive in a significant and sustained way".[1]

But Bruder classifies films as using "stylized [e.g. aestheticized] violence if they "revel in guns, gore and explosions, exploiting mise-en-scene not so much to provide narrative environment as to create the appearance of a 'movie' atmosphere against which specifically cinematic spectacle can unfold". In movies with aestheticized violence, she argues that the "standard realist modes of editing and cinematography are violated in order to spectacularize the action being played out on the screen"; directors use "quick and awkward editing", "canted framings", shock cuts, and slow motion, to emphasize the impacts of bullets or the "spurting of blood".[1]

For viewers of films with aestheticized violence, such as John Woo's movies, she claims that "One of the many pleasures" from watching Woo's films, such as Hard Target is that it gets viewers to recognize how Woo plays with conventions "from other Woo films" and how it "connects up with films...which include imitations of or homages to Woo". Bruder argues that films with aestheticized violence such as "Hard Target, True Romance and Tombstone are [filled] with... signs" and indicators, so that "the stylized violence they contain ultimately serves as...another interruption in the narrative drive" of the film.[1]

Writing in The New York Times, Dwight Garner reviews the controversy and moral panic surrounding the 1991 novel and 2000 film American Psycho, which concerns Patrick Bateman, "an Exeter and Harvard grad, a gourmand, a tanning enthusiast and a ruthless fashion critic" who is also a serial killer. Garner concludes that the film was a "coal-black satire" in which "dire comedy mixes with Grand Guignol. There's demented opera in some of its scenes." The book, meanwhile, has acquired "grudging respect" and is "seen as a transgressive bag of broken glass that can be talked about alongside plasma-soaked trips like Anthony Burgess's A Clockwork Orange".[9]

Garner claims that the novel's author, Bret Easton Ellis, "was racing ahead of the culture" and that his book "was ahead of its time": "The culture has shifted to make room for Bateman. We've developed a taste for barbaric libertines with twinkling eyes and some zing in their tortured souls. Tony Soprano, Walter White from "Breaking Bad", Hannibal Lecter (who predates "American Psycho")—here are the most significant pop culture characters of the past 30 years... Thanks to these characters, and to first-person shootervideo games, we’ve learned to identify with the bearer of violence and not just cower before him or her."

Plato proposed to ban poets from his ideal republic because he feared that their aesthetic ability to construct attractive narratives about immoral behaviour would corrupt young minds. Plato's writings refer to poetry as a kind of rhetoric, whose "...influence is pervasive and often harmful". Plato believed that poetry that was "unregulated by philosophy is a danger to soul and community". He warned that tragic poetry can produce "a disordered psychic regime or constitution" by inducing "a dream-like, uncritical state in which we lose ourselves in ...sorrow, grief, anger, [and] resentment". As such, Plato was in effect arguing that "What goes on in the theater, in your home, in your fantasy life, are connected" to what one does in real life.[10]

Aristotle, though, advocated a useful role for music, drama, and tragedy: a way for people to purge their negative emotions. Aristotle mentions catharsis at the end of his Politics, where he notes that after people listen to music that elicits pity and fear, they "are liable to become possessed" by these negative emotions. However, afterwards, Aristotle points out that these people return to "a normal condition as if they had been medically treated and undergone a purge [catharsis] ... All experience a certain purge [catharsis] and pleasant relief. In the same manner cathartic melodies give innocent joy to men" (from Politics VIII:7; 1341b 35-1342a 8).[11]

The artist Hieronymus Bosch, from the 15th and 16th centuries, used images of demons, half-human animals and machines to evoke fear and confusion to portray the evil of man. The 16th-century artist Pieter Brueghel the Elder depicted "...the nightmarish imagery that reflect, if in an extreme fashion, popular dread of the Apocalypse and Hell".[12]

Mathis Gothart-Neithart, a German artist known as "Grünewald" (1480–1528) depicted "intense emotion, especially painful emotion". His painting of the Crucifixion "...does not spare the beholder. Grünewald relentlessly brings out all the marks of terrible suffering and agony, induced by the cruelty and torture of the executioners...[vividly conveying] a sense of horror and pain".[13]
Grünewald's 'Isenheim Altarpiece' also shows a violent image of Jesus on the cross, "with his body covered in wounds", with the focus on "... Jesus' suffering and his death".[14]

In the mid-18th century, Giovanni Battista Piranesi, an Italian etcher, archaeologist and architect active from 1740, did imaginary etchings of prisons that depicted people "stretched on racks or trapped like rats in maze-like dungeons", an "aestheticization of violence and suffering".[15]
In 1849, as revolutions raged in European streets and authorities were putting down protests and consolidating state powers, composer Richard Wagner wrote: "I have an enormous desire to practice a little artistic terrorism."[16]

Laurent Tailhade is reputed to have stated, after Auguste Vaillant bombed the Chamber of Deputies in 1893: "Qu'importent les victimes, si le geste est beau? [What do the victims matter, so long as the gesture is beautiful]." In 1929 André Breton's Second Manifesto on surrealist art stated that "L’acte surréaliste le plus simple consiste, revolvers aux poings, à descendre dans la rue et à tirer au hasard, tant qu’on peut, dans la foule" [The simplest Surrealist act consists of running down into the street, pistols in hand, and firing blindly, as fast as you can pull the trigger, into the crowd]."[16]

French postmodernist theorist Jean Baudrillard argues that whereas modern societies were "...organized around the production and consumption of commodities", "postmodern societies are organized around simulation and the play of images and signs". As such, in "...the postmodern media and consumer society, everything becomes an image, a sign, a spectacle". For Baudrillard, the West's "commercialization of the whole world...will turn out rather to have been the aestheticization of the whole world—its cosmopolitan spectacularization, its transformation into images, its semiological organization". As a result, the "previously separate domains of the economy, art, politics, and sexuality" become "collapsed into each other", and art penetrates "all spheres of existence." Thus, Baudrillard argues that "[o]ur society has given rise to a general aestheticization: all forms of culture—not excluding anti-cultural ones—are promoted and all models of representation and anti-representation are taken on board".[17]

When a person views an isolated painting, photograph or cartoon, they are viewing a static image. If a photographer takes a still photo of a police officer's struggle to arrest a young man, for example, the denotative meaning might be "there was a man dressed as a police officer placing his hand on the shoulder of another man of a certain age whilst a photographer took a picture". On the other hand, the connotative meanings might range from, "law enforcement in action" to "a heroic fight to subdue a dangerous terrorist about to release sarin gas", to "police use excessive force to arrest non-violent protesters", to "fancy dress party ends badly". The attribution of the specific subtext is left to the caption writer, the text accompanying the photo, and the audience.

Critic Susan Sontag argued that, through repeated exposure, certain well-known photographs have become "ethical reference points", such as the many images depicting the victims and liberation of the Bergen-Belsen concentration camp (1977). From this perspective, the subtext of such images, though still connotatively open to interpretation, has been somewhat restrained by familiarity, predominant cultural beliefs regarding the Holocaust, and perhaps by overusage.

If there is a motion picture or video recording of the previously described scenario of a police officer arresting a man, the filmmakers, videographers, and editors may reframe this scene, by fragmenting the recording, depicting it from different vantage points, editing the material, and reassembling these components. A film editor can produce a non-realistic sequence of intercut, edited images, which forces the audience to interpret those images according to a different set of semiotic rules. Even without editing or alteration, a film or video recordings' mise en scène and non-verbal signs become much more explicit and enable the audience to attribute meaning to the scenario.

The value of this video as a signifier will be determined by its relation to the other signifiers in the system. Thus, if the video is included in a reputable television news program, it will acquire a greater claim to be indexical and its status is more likely to be considered reliable "evidence" of real world events. In semiotic terms, the words spoken by the television presenter will be symbolic, and the images will have both iconic and indexical qualities.

The "semiotic value" of the video will change if it is transposed into a polemical or satirical programme, presented by a commentator, or screened with on-screen captions (e.g., "Crime Wave in the Streets", or "Protesters Brutalized by Police"). These substitute contexts form modality indicators that may help the viewer to assess the plausibility, credibility, or truthfulness of the content. The violence shown on-screen can be aestheticized by the values of the symbolical signs used by the news presenter, by captions placed on-screen, or by the relations with other signifiers in the same programme (e.g., if the arrest video is preceded by a report about "antisocial and criminal behaviour").

If a film or television director staged a similar fictional scene, the audience will be predisposed to consider it less "real". They know that the scenario is being filtered through the film maker's sensibilities and the outcome will reflect the director's motives. Hence, the lighting, makeup, costumes, acting methods, cutting, and soundtrack music selection are understood to be combined to inform the audience about the film maker's intentions.

The culture industry's mass-produced texts and images about crime, violence, and war have been consolidated into genres. Film makers typically choose from a predictable range of narrative conventions and use stereotyped characters, and clichéd symbols and metaphors. Over time, certain styles and conventions of filming and editing are standardised within a medium or a genre. Some conventions tend to naturalise the content and make it seem more real. Other methods deliberately breach convention to create an effect, such as the canted angles, rapid edits, and slow motion shots used in films with aestheticized violence.

The Accused: In this 1988 film, filmmaker Jonathan Kaplan stages a graphic rape scene to consider the moral and legal quality of the fictional spectators who, while not engaging in the rape, nevertheless shouted encouragement to those that were.

Strange Days: Matthew Crowder analyzes the aestheticization of violence in Strange Days, a film by director Kathryn Bigelow (1995). A scene graphically depicts the rape of a woman; it is "...filmed in real-time using a first-person subjective camera". Strange Days tells the story of Lenny Nero, who sells an illegal, futuristic technology that allows people to record their sensory experiences onto a minidisc, so that other people can "play back" these sensory experiences and have them "wired" directly into their brain.

In the film, Max records his rape of Iris, and gives the recording to the unsuspecting Lenny. When the "perpetrator of violence [Max] is given control of the cinematic apparatus", this is "referencing films such as Peeping Tom (Michael Powell, 1959) and Halloween (Carpenter, 1978)". Like "Peeping Tom's psychopathic killer, Max does seem to see himself as some kind of artist, recording the rape and sending it to Lenny".

The "...first person perspective the filming of the rape scene is unrelenting, the camera never turns away from the fear and panic of Iris whose body is not only slung about by the unknown killer but also subjected to an unflinching gaze that the audience is punished with too, made complicit in the rape by their passivity". Crowder argues that "[t]he entire notion of the subjective camera—an aesthetic element of the film—its scopophilic, voyeuristic and sadistic nature, is revealed in all its depravity". As such, "[t]he aesthetic experience of the [rape] scene is one of shock, horror, dislocation and passivity at the way the camera represents the helpless body of Iris as no more than an object".

The film's use of "playback" clips, as in the rape scene, causes a "...stylistic disruption of Hollywood codes and an even more important aesthetic effect: the disruption of the normal codes of identification with character and narrative".[18]

Bigelow was criticized for the rape scene by Carla Peterson, in her article "Director joins boys' club -- and it only costs her compassion" (1995). Crowder claims that Peterson attacked Strange Days "... as misogynist and offensive because she [Peterson] feels that it tries to create an unproblematic, if slightly uncomfortable, spectacle out of rape". As such, Crowder argues that Peterson "... fails to see that the film concerns more than a logical narrative (which if anything grows increasingly incoherent)" and claims that Peterson has "...misread the scene out of context" and dismissed "...textual elements that clearly signal criticism of both Hollywood and the cinematic apparatus as a tool of masculinist domination".

Crowder "challenge[s] whether Peterson's response is actually aesthetic, as she makes little reference to communication between work and audience". In contrast, Crowder interprets Strange Days in a feminist context, which he argues is "...perhaps its most persuasive aesthetic effect". Crowder holds that "...Strange Days can be seen as a self-conscious discourse on cinema and that part of this discourse concerns the act of aesthetic judgement". Furthermore, he states that the film's "narrative can be seen to allegorise the problem of aesthetics and value".[18]

A Clockwork Orange: A Clockwork Orange is a 1971 film written, directed, and produced by Stanley Kubrick and based on the novel of the same name by Anthony Burgess. Set in a futuristic England (circa 1995, as imagined in 1965), it follows the life of a teenage gang leader named Alex. In Alexander Cohen's analysis of Kubrick's film, he argues that the "ultra-violence" of the young protagonist, Alex, "...represents the breakdown of culture itself". In the film, gang members are "...[s]eeking idle de-contextualized violence as entertainment" as an escape from the emptiness of their dystopian society.

Cohen claims that in the film, "...the violence of modern technology sees its reflection in Ultraviolence, beyond violence". When the protagonist murders a woman in her home, Cohen states that Kubrick presents a "[s]cene of aestheticized death" by setting the murder in a room filled with "...modern art which depict scenes of sexual intensity and bondage"; as such, the scene depicts a "...struggle between high-culture which has aestheticized violence and sex into a form of autonomous art, and the very image of post-modern mastery".[19]

1.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art

2.
Passion of Jesus
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Those parts of the four Gospels that describe these events, as well as the non-canonical Gospel of Peter, are known as the Passion narratives. In the liturgical calendar of the Roman Catholic Church, the Passion is commemorated in Holy Week, beginning on Friday of Sorrows, the Palm Sunday and culminating on his death on Good Friday. The word passion has taken on a more general application and now may also apply to accounts of the suffering and death of Christian martyrs. The accounts of the Passion are found in the four gospels, Matthew, Mark, Luke. Three of these, Matthew, Mark, and Luke, known as the Synoptic Gospels, the Gospel of John accounts varies slightly. The events include, The conspiracy against Jesus by the Jewish Sanhedrin priests, triumphal entry into Jerusalem, his anger and outburst at the Cleansing of the Temple A meal a few days before Passover. He says that for this she always be remembered. In Jerusalem, the Last Supper shared by Jesus and his disciples, Jesus gives final instructions, predicts his betrayal, and tells them all to remember him. On the path to Gethsemane after the meal, Jesus tells them they will all fall away that night, after Peter protests he will not, Jesus says Peter will deny him three times before the cock crows. Gethsemane, later that night, Jesus prays, meanwhile, the disciples rest, during the arrest in Gethsemane, someone takes a sword and cuts off the ear of the high priests servant, Malchus. The high priests palace, later that night, According to Matthews Gospel, the court then spat in his face and struck him with their fists. They then send him to Pontius Pilate, According to the synoptic gospels, the high priest who examines Jesus is Caiaphas, in John, Jesus is also interrogated by Annas, Caiaiphas father-in-law. The courtyard outside the high palace, the same time. Peter has followed Jesus and joined the mob awaiting Jesus’ fate, they suspect he is a sympathizer, suddenly, the cock crows and Peter remembers what Jesus had said. Pilate, the Roman governor, examines Jesus, decides he is innocent, the Jewish leaders and the crowd demand Jesus’ death, Pilate gives them the choice of saving Barabbas, in response to the screaming mob Pilate sends Jesus out to be crucified. According to the Gospel of Matthew, Judas, the betrayer, is filled with remorse, when the high priests say that that is his affair, Judas throws the money into the temple, goes off, and hangs himself. Golgotha, a hill outside Jerusalem, later morning through mid afternoon, the Gospel of Luke states that Pilate sends Jesus to be judged by Herod Antipas because as a Galilean he is under his jurisdiction. Herod is excited at first to see Jesus and hopes Jesus will perform a miracle for him, he asks Jesus several questions, Herod then mocks him and sends him back to Pilate after giving him an elegant robe to wear

3.
High culture
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The term high culture comprehends the cultural products of aesthetic value, which a society collectively esteem as art. The Preface defines culture as “the disinterested endeavour after man’s perfection” pursued, obtained, moreover, the philosophy of aesthetics proposed in high culture is a force for moral and political good. Critically, the term “high culture” is contrasted with the terms “popular culture”, in Notes Towards the Definition of Culture, T. S. Eliot said that high culture and popular culture are necessary and complementary parts of the culture of a society. In the U. S. Harold Bloom and F. R. Leavis pursued the definition of high culture, history The high culture of the West originated in the Classical-world traditions of intellect and aesthetics in Ancient Greece and Ancient Rome. In the Classical Greco-Roman tradition, the mode of language was published and preserved in works of elevated style. Certain forms of language used by authors in valorized epochs were held up in antiquity and this ideal associated with humanism, was communicated in Renaissance Italy through institutions such as the Renaissance court schools. Renaissance humanism soon spread through Europe becoming much of the basis of upper class education for centuries, of comparable importance are those works of art and music considered to be of the highest excellence and broadest influence. Together these texts and art works constitute the artefacts representative of the culture of the Western world. Cultural traditions In the Western and some East Asian traditions, art that demonstrates the imagination of the artist is accorded the status of high art, much of high culture consists of the appreciation of what is sometimes called High Art. This term is broader than Arnolds definition and besides literature includes music, visual arts. The decorative arts would not generally be considered High Art, such an environment enables artists, as near as possible, to realize their creative potential with as few as possible practical and technical constraints. Art music is a term used to refer to musical traditions implying advanced structural and theoretical considerations. In this regard, art music frequently occurs as a term to popular music. Art film is the result of filmmaking which is typically a serious, film critics and film studies scholars typically define an art film using a. According to the film scholar David Bordwell, art cinema itself is a film genre, there was a drive, beginning in the 19th century, to open museums and concert halls to give the general public access to high culture. University liberal arts courses still play an important role in the promotion of the concept of high culture, organisations such as the Arts Council of Great Britain, and in most European countries, whole ministries administer these programmes. This includes the subsidy of new works by composers, writers, there are also many private philanthropic sources of funding, which are especially important in the US, where the federally funded Corporation for Public Broadcasting also funds broadcasting. These may be seen as part of the concept of official culture

4.
Fine art
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Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theatre and dance. Today, the fine arts commonly include additional forms, such as film, photography, video production/editing, design, sequential art, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art, in that sense, there are conceptual differences between the fine arts and the applied arts. The word fine does not so much denote the quality of the artwork in question and this definition originally excluded the applied or decorative arts, and the products of what were regarded as crafts. According to some writers the concept of a category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art, A Cultural History locates the invention in the 18th century, There was a traditional “system of the arts” in the West before the eighteenth century. ”Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, and Terry Eagleton, though the point of invention is often placed earlier, in the Italian Renaissance. The separation of arts and crafts that often exists in Europe, in Japanese aesthetics the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the mostly landscape painting of scholar gentlemen and the artisans of the schools of court painting. A high status was given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving, weaving. Drawing is a form of expression and is one of the major forms of the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, There are a number of subcategories of drawing, including cartooning. Mosaics are images formed with pieces of stone or glass. They can be decorative or functional, an artist who designs and makes mosaics is called a mosaic artist or a mosaicist. Printmaking is the process of making artworks by printing, normally on paper, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy, the reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance, a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression, prints are created from a single original surface, known technically as a matrix. But there are other kinds, discussed below. Multiple nearly identical prints can be called an edition, in modern times each print is often signed and numbered forming a limited edition

5.
University of Georgia
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Its primary location is a 762-acre campus adjacent to the college town of Athens, Georgia, approximately an hours drive from the global city of Atlanta. The university has been labeled one of the Public Ivies, a publicly funded university considered to provide a quality of education comparable to those of the Ivy League. The university was founded in 1785 as the United States first state-chartered university and its historic North Campus is on the U. S. National Register of Historic Places as a designated historic district. The contiguous campus areas include rolling hills, gardens, and extensive green space including nature walks, fields, shrubbery, and large and varied arboreta. Close to the campus is the universitys 58-acre Health Sciences Campus that also has an extensive landscaped green space, more than 400 trees. The university offers over 140 degree programs in an array of disciplines. Consisting of thirteen separate libraries, the UGA Libraries rank among the nation’s largest and best research libraries containing 5.7 million volumes, the University of Georgia is one of 126 member institutions that comprise the Association of Research Libraries. The university is organized into seventeen schools and colleges, the university has three primary campuses. The largest one is the campus in Athens that has 460 buildings. The university has two campuses located in Atlanta and Lawrenceville, Georgia. The university operates several service and outreach stations spread across the state, the total acreage of the university in 30 Georgia counties is 41,539 acres. Varsity and intramural student athletics are a part of student life. UGA served as a member of the SEC in 1932. In their 121-year history, the varsity sports teams have won 39 national championships and 130 conference championships. The Georgia Redcoat Marching Band, the marching band of the university, plays at sports. The Senatus Academicus was composed of the Board of Visitors and the Board of Trustees with the Georgia Senate presiding over those two boards, the first meeting of the universitys board of trustees was held in Augusta, Georgia on February 13,1786. The meeting installed its first president, Abraham Baldwin, a native of Connecticut, Baldwin was a delegate to the 1787 Constitutional Convention, and one of two Georgia delegates to sign the final document. Many features on the University of Georgia campus resemble the campus of Yale, on July 2,1799, the Senatus Academicus met again in Louisville, Georgia and decided that the time was right to open the university

6.
Thomas De Quincey
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Thomas Penson De Quincey was an English essayist, best known for his Confessions of an English Opium-Eater. Many scholars suggest that in publishing this work De Quincey inaugurated the tradition of literature in the West. De Quincey was born at 86 Cross Street, Manchester, Lancashire and his father was a successful merchant with an interest in literature who died when he was quite young. Soon after his birth the family went to The Farm and then later to Greenheys, in 1796, three years after the death of his father, Thomas Quincey, his mother – the erstwhile Elizabeth Penson – took the name De Quincey. In the same year, De Quinceys mother moved to Bath, Somerset, De Quincey was a weak and sickly child. His youth was spent in solitude, and when his brother, William, came home. De Quinceys mother was a woman of character and intelligence. It is purported that at time, in 1799, De Quincey first read Lyrical Ballads by Wordsworth. In 1800, De Quincey, aged fifteen, was ready for the University of Oxford and that boy, his master at Bath had said, could harangue an Athenian mob better than you or I could address an English one. He was sent to Manchester Grammar School, in order that after three years stay he might obtain a scholarship to Brasenose College, Oxford, but he took flight after nineteen months. His first plan had been to reach William Wordsworth, whose Lyrical Ballads had consoled him in fits of depression and had awakened in him a reverence for the poet. From July to November 1802, De Quincey lived as a wayfarer and he soon lost his guinea by ceasing to keep his family informed of his whereabouts, and had difficulty making ends meet. Still, apparently fearing pursuit, he borrowed money and travelled to London. Having failed, he lived close to starvation rather than return to his family, discovered by chance by his friends, De Quincey was brought home and finally allowed to go to Worcester College, Oxford, on a reduced income. Here, we are told, he came to be looked upon as a strange being who associated with no one, in 1804, while at Oxford, he began the occasional use of opium. He completed his studies, but failed to take the oral examination leading to a degree and he became an acquaintance of Coleridge and Wordsworth, having already sought out Charles Lamb in London. His acquaintance with Wordsworth led to his settling in 1809 at Grasmere and he lived for ten years in Dove Cottage, which Wordsworth had occupied and which is now a popular tourist attraction, and for another five years at Fox Ghyll near Rydal. De Quincey was married in 1816, and soon after, having no money left and his wife Margaret bore him eight children before her death in 1837

7.
Newspaper
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A newspaper is a serial publication containing news about current events, other informative articles about politics, sports, arts, and so on, and advertising. A newspaper is usually, but not exclusively, printed on relatively inexpensive, the journalism organizations that publish newspapers are themselves often metonymically called newspapers. As of 2017, most newspapers are now published online as well as in print, the online versions are called online newspapers or news websites. Newspapers are typically published daily or weekly, News magazines are also weekly, but they have a magazine format. General-interest newspapers typically publish news articles and feature articles on national and international news as well as local news, typically the paper is divided into sections for each of those major groupings. Papers also include articles which have no byline, these articles are written by staff writers, a wide variety of material has been published in newspapers. As of 2017, newspapers may also provide information about new movies, most newspapers are businesses, and they pay their expenses with a mixture of subscription revenue, newsstand sales, and advertising revenue. Some newspapers are government-run or at least government-funded, their reliance on advertising revenue, the editorial independence of a newspaper is thus always subject to the interests of someone, whether owners, advertisers, or a government. Some newspapers with high editorial independence, high quality. This is a way to avoid duplicating the expense of reporting from around the world, circa 2005, there were approximately 6,580 daily newspaper titles in the world selling 395 million print copies a day. Worldwide annual revenue approached $100 billion in 2005-7, then plunged during the financial crisis of 2008-9. Revenue in 2016 fell to only $53 billion, hurting every major publisher as their efforts to gain online income fell far short of the goal. Besides remodeling advertising, the internet has also challenged the business models of the era by crowdsourcing both publishing in general and, more specifically, journalism. In addition, the rise of news aggregators, which bundle linked articles from online newspapers. Increasing paywalling of online newspapers may be counteracting those effects, the oldest newspaper still published is the Gazzetta di Mantova, which was established in Mantua in 1664. While online newspapers have increased access to newspapers by people with Internet access, literacy is also a factor which prevents people who cannot read from being able to benefit from reading newspapers. Periodicity, They are published at intervals, typically daily or weekly. This ensures that newspapers can provide information on newly-emerging news stories or events, currency, Its information is as up to date as its publication schedule allows

8.
Television
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Television or TV is a telecommunication medium used for transmitting moving images in monochrome, or in color, and in two or three dimensions and sound. The term can refer to a set, a television program. Television is a medium for entertainment, education, news, politics, gossip. Television became available in experimental forms in the late 1920s. After World War II, a form of black-and-white TV broadcasting became popular in the United States and Britain, and television sets became commonplace in homes, businesses. During the 1950s, television was the medium for influencing public opinion. In the mid-1960s, color broadcasting was introduced in the US, for many reasons, the storage of television and video programming now occurs on the cloud. At the end of the first decade of the 2000s, digital television transmissions greatly increased in popularity, another development was the move from standard-definition television to high-definition television, which provides a resolution that is substantially higher. HDTV may be transmitted in various formats, 1080p, 1080i, in 2013, 79% of the worlds households owned a television set. Most TV sets sold in the 2000s were flat-panel, mainly LEDs, major manufacturers announced the discontinuation of CRT, DLP, plasma, and even fluorescent-backlit LCDs by the mid-2010s. In the near future, LEDs are gradually expected to be replaced by OLEDs, also, major manufacturers have announced that they will increasingly produce smart TVs in the mid-2010s. Smart TVs with integrated Internet and Web 2.0 functions became the dominant form of television by the late 2010s, Television signals were initially distributed only as terrestrial television using high-powered radio-frequency transmitters to broadcast the signal to individual television receivers. Alternatively television signals are distributed by cable or optical fiber, satellite systems and. Until the early 2000s, these were transmitted as analog signals, a standard television set is composed of multiple internal electronic circuits, including a tuner for receiving and decoding broadcast signals. A visual display device which lacks a tuner is correctly called a video monitor rather than a television, the word television comes from Ancient Greek τῆλε, meaning far, and Latin visio, meaning sight. The Anglicised version of the term is first attested in 1907 and it was. formed in English or borrowed from French télévision. In the 19th century and early 20th century, other. proposals for the name of a technology for sending pictures over distance were telephote. The abbreviation TV is from 1948, the use of the term to mean a television set dates from 1941

9.
Weimar Republic
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Weimar Republic is an unofficial, historical designation for the German state between 1919 and 1933. The name derives from the city of Weimar, where its constitutional assembly first took place, the official name of the state was still Deutsches Reich, it had remained unchanged since 1871. In English the country was known simply as Germany. A national assembly was convened in Weimar, where a new constitution for the Deutsches Reich was written, in its fourteen years, the Weimar Republic faced numerous problems, including hyperinflation, political extremism, and contentious relationships with the victors of the First World War. The people of Germany blamed the Weimar Republic rather than their leaders for the countrys defeat. However, the Weimar Republic government successfully reformed the currency, unified tax policies, Weimar Germany eliminated most of the requirements of the Treaty of Versailles, it never completely met its disarmament requirements, and eventually paid only a small portion of the war reparations. Under the Locarno Treaties, Germany accepted the borders of the republic. From 1930 onwards President Hindenburg used emergency powers to back Chancellors Heinrich Brüning, Franz von Papen, the Great Depression, exacerbated by Brünings policy of deflation, led to a surge in unemployment. In 1933, Hindenburg appointed Adolf Hitler as Chancellor with the Nazi Party being part of a coalition government, the Nazis held two out of the remaining ten cabinet seats. Von Papen as Vice Chancellor was intended to be the éminence grise who would keep Hitler under control, within months the Reichstag Fire Decree and the Enabling Act of 1933 had brought about a state of emergency, it wiped out constitutional governance and civil liberties. Hitlers seizure of power was permissive of government by decree without legislative participation and these events brought the republic to an end, as democracy collapsed, a single-party state founded the Nazi era. The Weimar Republic is so called because the assembly that adopted its constitution met at Weimar, Germany from 6 February 1919 to 11 August 1919, but this name only became mainstream after 1933. To the right of the spectrum the politically engaged rejected the new democratic model, the Catholic Centre party, Zentrum favoured the term Deutscher Volksstaat while on the moderate left the Chancellors SPD preferred Deutsche Republik. Only during the 1930s did the term become mainstream, both within and outside Germany, after the introduction of the republic, the flag and coat of arms of Germany were officially altered to reflect the political changes. The Weimar Republic retained the Reichsadler, but without the symbols of the former Monarchy and this left the black eagle with one head, facing to the right, with open wings but closed feathers, with a red beak, tongue and claws and white highlighting. If the Reichs Eagle is shown without a frame, the charge and colors as those of the eagle of the Reichs coat of arms are to be used. The patterns kept by the Federal Ministry of the Interior are decisive for the heraldic design, the artistic design may be varied for each special purpose. The achievements and signs of movement were mostly done away with after its downfall

10.
Ridley Scott
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Sir Ridley Scott is an English film director and producer. Scott is known for his atmospheric, highly concentrated visual style and his films are also known for their strong female characters. Scott has been nominated for three Academy Awards for Directing, in 1995, both Ridley and his brother Tony received the BAFTA Award for Outstanding British Contribution To Cinema. In 2003, Scott was knighted for his services to the British film industry, in a 2004 BBC poll Scott was named the tenth most influential person in British culture. In 2015 he received a doctorate from the Royal College of Art in London. Scott was born in South Shields, County Durham, North East England, to Elizabeth and he was brought up in an army family, so for most of his early life, his father – an officer in the Royal Engineers – was absent. His elder brother, Frank, joined the British Merchant Navy when he was still young, during this time the family moved around, living in Cumberland in North West England, Wales and Germany. He had a brother, Tony, who also became a film director. He studied at Grangefield Grammar School and West Hartlepool College of Art from 1954 to 1958, Scott went on to study at the Royal College of Art in London, contributing to college magazine ARK and helping to establish the college film department. For his final show, he made a black and white film, Boy and Bicycle. In February 1963 Scott was named in title credits as Designer for the BBC television programme Tonight, about the severe winter of 1963. After graduation in 1963, he secured a job as a set designer with the BBC, leading to work on the popular television police series Z-Cars. He was originally assigned to design the second Doctor Who serial, The Daleks, however, shortly before Scott was due to start work, a schedule conflict meant he was replaced by Raymond Cusick. In 1965, he began directing episodes of series for the BBC, only one of which. In 1968, Ridley and Tony Scott founded Ridley Scott Associates, a nostalgia themed television advertisement that captured the public imagination, it was voted the UKs all-time favourite commercial in a 2006 poll. In the 1970s the Chanel No.5 brand needed revitalisation having run the risk of being labelled as mass market, five members of the Scott family are directors, and all have worked for RSA. His brother Tony was a film director whose career spanned more than two decades, his sons Jake and Luke are both acclaimed directors of commercials, as is his daughter, Jordan Scott. Jake and Jordan both work from Los Angeles, Luke is based in London, in 1995, Shepperton Studios was purchased by a consortium headed by Ridley and Tony Scott, which extensively renovated the studios while also expanding and improving its grounds

Study for Pasadena Lifesavers, prismacolor, 1968. Judy Chicago created the Pasadena Lifesavers, a series of abstract paintings that blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," to represent her own discovery that she was multi-orgasmic.

Semiotics (also called semiotic studies) is the study of meaning-making, the study of sign process (semiosis) and …

Color-coding hot- and cold-water faucets (taps) is common in many cultures but, as this example shows, the coding may be rendered meaningless because of context. The two faucets (taps) probably were sold as a coded set, but the code is unusable (and ignored), as there is a single water supply.

Blue Velvet is a 1986 American neo-noir mystery film, written and directed by David Lynch. Blending psychological …

Theatrical release poster

"I guess it means there's trouble until the robins come": Throughout the film, a dream Sandy had is alluded to, in which the world was full of darkness and turmoil until a group of robins were set free, unleashing blinding light and love. Lighting is a strong symbolic aspect of the film, illustrated in this second shot which is saturated with bright illumination, lit from above, representing a return to normalcy and love for Jeffrey and Sandy.